This all-encompassing compendium for The L. Ron Hubbard Series highlights all he achieved as a humanitarian, educator, administrator, philosopher and artist. It further presents the only complete chronological overview of his life and discoveries.

Biographical Profile

Recently there came a period when I had little to do. This was novel in a life so crammed with busy years, and I decided to amuse myself by writing a novel that was pure science fiction.

In the hard-driven times between 1930 and 1950, I was a professional writer not simply because it was my job, but because I wanted to finance more serious researches. In those days there were few agencies pouring out large grants to independent workers. Despite what you might hear about Roosevelt “relief,” those were depression years. One succeeded or one starved. One became a topliner or a gutter bum. One had to work very hard at his craft or have no craft at all. It was a very challenging time for anyone who lived through it.

I have heard it said, as an intended slur, “He was a science fiction writer,” and have heard it said of many. It brought me to realize that few people understand the role science fiction has played in the lives of Earth’s whole population.

I have just read several standard books that attempt to define “science fiction” and to trace its history. There are many experts in this field, many controversial opinions. Science fiction is favored with the most closely knit reading public that may exist, possibly the most dedicated of any genre. Devotees are called “fans,” and the word has a special prestigious meaning in science fiction.

Few professional writers, even those in science fiction, have written very much on the character of “sf.” They are usually too busy turning out the work itself to expound on what they have written. But there are many experts on this subject among both critics and fans, and they have a lot of worthwhile things to say.

However, many false impressions exist, both of the genre and of its writers. So when one states that he set out to write a work of pure science fiction, he had better state what definition he is using.

“Street and Smith was unhappy because its magazine was mainly publishing stories about machines and machinery.”

It will probably be best to return to the day in 1938 when I first entered this field, the day I met John W. Campbell, Jr., a day in the very dawn of what has come to be known as The Golden Age of science fiction. I was quite ignorant of the field and regarded it, in fact, a bit diffidently. I was not there of my own choice. I had been summoned to the vast old building on Seventh Avenue in dusty, dirty, old New York by the very top brass of Street and Smith publishing company—an executive named Black and another, F. Orlin Tremaine. Ordered there with me was another writer, Arthur J. Burks. In those days when the top brass of a publishing company—particularly one as old and prestigious as Street and Smith—“invited” a writer to visit, it was like being commanded to appear before the king or receiving a court summons. You arrived, you sat there obediently, and you spoke when you were spoken to.

We were both, Arthur J. Burks and I, top-line professionals in other writing fields. By the actual tabulation of A. B. Dick, which set advertising rates for publishing firms, either of our names appearing on a magazine cover would send the circulation rate skyrocketing, something like modern TV ratings.

The top brass came quickly to the point. They had recently started or acquired a magazine called Astounding Science Fiction. Other magazines were published by other houses, but Street and Smith was unhappy because its magazine was mainly publishing stories about machines and machinery. As publishers, its executives knew you had to have people in stories. They had called us in because, aside from our A. B. Dick rating as writers, we could write about real people. They knew we were busy and had other commitments. But would we be so kind as to write science fiction? We indicated we would.

They called in John W. Campbell, Jr., the editor of the magazine. He found himself looking at two adventure-story writers, and though adventure writers might be the aristocrats of the whole field and might have vast followings of their own, they were not science fiction writers. He resisted. In the first place, calling in topliners would ruin his story budget due to their word rates. And in the second place, he had his own ideas of what science fiction was.

Campbell, who dominated the whole field of sf as its virtual czar until his death in 1971, was a huge man who had majored in physics at Massachusetts Institute of Technology and graduated from Duke University with a Bachelor of Sciences degree. His idea of getting a story was to have some professor or scientist write it and then doctor it up and publish it. Perhaps that is a bit unkind, but it really was what he was doing. To fill his pages even he, who had considerable skill as a writer, was writing stories for the magazine.

The top brass had to directly order Campbell to buy and to publish what we wrote for him. He was going to get people into his stories and get something going besides machines.

I cannot tell you how many other writers were called in. I do not know. In all justice, it may have been Campbell himself who found them later on. But do not get the impression that Campbell was anything less than a master and a genius in his own right. Any of the stable of writers he collected during this Golden Age will tell you that. Campbell could listen. He could improve things. He could dream up little plot twists that were masterpieces. He well deserved the title that he gained and kept as the top editor and the dominant force that made science fiction as respectable as it became. Star Wars, the all-time box office record movie to date (exceeded only by its sequel), would never have happened if science fiction had not become as respectable as Campbell made it. More than that—Campbell played no small part in driving this society into the space age.

You had to actually work with Campbell to know where he was trying to go, what his idea was of this thing called “science fiction.” I cannot give you any quotations from him; I can just tell you what I felt he was trying to do. In time we became friends. Over lunches and in his office and at his home on weekends—where his wife Doña kept things smooth—talk was always of stories but also of science. To say that Campbell considered science fiction as “prophecy” is an oversimplification. He had very exact ideas about it.